I am a sad that, even with Baremboim or Chailly, LA SCALA is proving every day that they are mor einterest in politics than in Music making.Nancy La Scala. As an Italian Music lover, I am happy that Muti will conduct elsewhere than in LA SCALA as it has always been a nightmare to find tickets even using the right channels. And Muti knows very well that it is true still today as his entourage kept reporting. Unfortunately we know that most, if not all, the musicians who were playing in 2004 with Muti in the Orchestra raised their hand when it came to the fampus meeting to decide that Muti could no longer be their Music Director. In Italy we know pretty well how the LA SCALA environment is caustic as Unions are used as an excuse rather than to support. Anybody, including the most talented and those who spend their life in Art, as Muti, Chailly and many others, should remain professional. There was friction but most tof the rest is dramatized as often happens around this environment, especially in Italy. They were among the few people who actually saw and listed to what really was told. You can find the articles of the two journalists on IL FOGLIO and IL GIORNALE. The real facts are told by two journalists who were actually present and that told how a single misleading comment leaked to a particular newspaper led to the tsunami. It is clear that many people are taking the opportunity of the «gossip» to say they do not like Muti. There is a retirement home for musicians nearby, Casa Verdi, that I am sure could accommodate both divas. His work with the Chicago has been as uneventful and uneven as can be. He used to be able to draw out of the La Scala orchestra (and probably worked too alongside their chorusmaster) a very particular Italian sound that I can only describe as chiaroscuro. On the other, up until about 30 years ago more or less, once could easily identify a Muti performance especially those from La Scala but Philly, too.
It is impossible to tell a Chailly performance from a hundred others. After a long career, very little, if anything, from him is considered referential, although I consider his Hindemith Kammermusik with the RCO a phenomenal achievement. On one hand, Chailly began with promise and delivered something or other for a few years but did not develop into the remarkable force he was supposed to be. As conductors, both men are long on the tooth. Muti, who turns 80 in July, will be on the other side of town that night with his Italian Opera Academy in the Fondazione Prada with Verdi’s Nabucco. Muti, however, is planning an appearance in Milan on December 7, the night that Chailly will open La Scala’s season with Verdi’s Nabucco. He has now left behind a sense of outrage and orchestra members are adamant that they do not want to see him again. Since his stormy departure 16 years ago, Muti has returned to La Scala with the Vienna Philharmonic and the Chicago Symphony but has never agreed to conduct a concert with the Scala orchestra, let alone to conduct an opera. He proceeded to shout half-comprehensible and generally irrelevant comments about Toscanini’s return to La Scala in 1946. After the concert, he called for a microphone to address the audience and was ignored by stage staff. Muti initially insulted and shouted at his successor Riccardo Chailly, who had given up his own private room to the distinguished guest. We hear that musicians at La Scala, Milan, have requested a lifetime ban on their former music director, Riccardo Muti, following disgraceful scenes at his concert last week with the Vienna Philharmonic.
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